Musicologica Olomucensia, 2011, vol. 13
K historii moderní populární hudby v Olomouci: vývoj country, folku a trampské písně před rokem 1989
On the History of Modern Popular Music in Olomouc: Evolution of Folk, Country and Tramping Music before 1989
Jan Blüml
Musicologica Olomucensia vol. 13, (2011):9-30 | DOI: 10.5507/mo.2011.001 
Die Geschichte der modernen tschechischen Populärmusik vor dem Jahr 1989 umfasst eine Vielzahl von vermischten Stilrichtungen. Aus der Sicht der gemeinschaftlichen Bedeutung gehören zu den wichtigsten von ihnen zweifellos die Bereiche der Folkmusik, Countrymusik und Wanderlieder. Obwohl viele bedeutende Ereignisse, die mit den Konstitutionen dieses Musikbereiches verbunden sind, sich in Prag abspielten, entwickelten sich seit den Sechzigerjahren erfolgreich insbesondere lokale Kreis- und Bezirksszenen. Nicht einmal die Olmützer Szene war eine Ausnahme, in der während der Sechziger und Achtziger Jahre eine Menge von bemerkenswerten Solisten und Gruppen...
Českoskalický graduál 1567
The Gradual of Česká Skalice 1567
Lucie Brázdová
Musicologica Olomucensia vol. 13, (2011):31-49 | DOI: 10.5507/mo.2011.002
The Gradual of Česká Skalice, dating back to 1567, is a significant hand-written record kept in the Museum of Božena Němcová, which situated in Česká Skalice. This codex, which is written in Czech and is of a regional character, may be listed among all the other Czech sources. By analyzing it we may contribute to the recognition of the repertoire of utraquistic sources. However, the Gradual of Česká Skalice does not belong to such prestigious codices as the Gradual of Strahov, the Gradual of Chrudim, dating back to 1570, Franus' Hymnbook. The Gradual of Česká Skalice is merely a paper codex the decoration of which is very humble.When reviewing...
Jaroslav Křička a Olomouc
Jaroslav Křička and Olomouc
Alena Burešová
Musicologica Olomucensia vol. 13, (2011):51-69 | DOI: 10.5507/mo.2011.003
Jaroslav Křička (27 August 1882 - 23 January 1969) was one of the renowned Czech composers who were attached to musical traditionalism. Apart from his profession as a composer, Křička also successfully followed career as a conductor, choirmaster, organiser, pedagogue, and publicist. His compositional output encompasses almost every musical style and genre. Křička also created a brand-new genre with his works for children.Although native of Moravia, Křička spent most of his creative life in Prague. He was always in touch with many semi-professional and professional musicians for whom he gratuitously composed occasional musical pieces. In the old...
Ředitel Friedrich Blum v olomouckém divadle a revoluční rok 1848
The Director Friedrich Blum in Olomouc Theater and the Revolutionary Year 1848
Jiří Kopecký
Musicologica Olomucensia vol. 13, (2011):71-80 | DOI: 10.5507/mo.2011.004
Friedrich Blum became director of the Olomouc Theater in 1847, and the events of the revolution of 1848 strengthened his position there during the entire decade of the 1850s. Blum was able to integrate the theater into the community life of the town, and to profit by directing the theaters in Olomouc and Krakow simultaneously. He also took advantage of contacts in Lvov [Lemberg] and Karlovy Vary [Carlsbad]. Despite the rigid absolutism closely connected to the political realities of the time, Blum led artistic efforts with tolerance and vigor. But since these artistic accomplishments did not gain appreciation by specialists, and Blum was not able,...
Věžní hudba v 19. století v Litovli
Watchtower Music in the 19th Century in Litovel
Ingrid Silná
Musicologica Olomucensia vol. 13, (2011):81-92 | DOI: 10.5507/mo.2011.005
The study deals with the tower masters in Litovel (Moravia) in their last period of activity, i. e. 19th century. The tower musicians were acting there from about 1566. They were associated, like in other towns, in artisan corporations. The main person, paid by municipal authorities, was the tower master, who employed a journeyman and some helpers (guards), and also educated some apprentices. During the 19th century, three musicians worked, one after another, as the tower masters. From the end of the 18th century to 1811, it was Franz Josef Schiebel, then, from 1811 to 1841, Ignaz Bartl (1777-?), and finally, from 1841 to 1866, Josef Jiránek (1800-1885).From...
Hudba ve filozofii Jeana-Paula Sartra
Music in Jean-Paul Sartre's Philosophy
Martina Stratilková
Musicologica Olomucensia vol. 13, (2011):93-106 | DOI: 10.5507/mo.2011.006
Jean-Paul Sartre (1905-1980), ein bedeutender Schriftsteller und existenzialisch-orientierter Phänomenologe, hatte eine enge Beziehung zur Kunst und hatte sich sehr oft über künstlerische Fragen geäußert. Seine philosophischen Erstlingswerke über die Bedeutung des emotionellen Erlebens oder über die Funktionen des Bewusstseins bei Vorstellungsgestaltung sind für Musik relevant, und zwar sowohl dank ihren direkten Hinweisen auf Musik als auch mit Ansichten, die das Hauptwerk Sein und Nichtsein (1943) antizipieren und zur zentralen philosophischen Konzeption Sartres gehören. Meine Studie behandelt das Wesen und die Verwandlungen der Anschauung Sartres...